Contributing writer Shayla L. LeBlanc weighs in on why “Black Panther” proves that Afrocentric narratives can be both cinematically meritorious and attract mainstream popularity.
The album’s production, in conjunction with the powerful lyrics woven throughout many of the tracks, make for a solid artistic endeavor by Kendrick Lamar.
The show serves as a reminder of the close relationship between artistic practice and technological advancement.
Rankine, the author of “Citizen: An American Lyric,” examined the way whiteness pervades American culture, and how this dominance is so often ignored by canonical white writers.
“I’m teaching my daughters to be rude,” Danielle Lazarin said to listeners of her talk.
The love in “Heaven” is not the holy grail, as in Ellie Goulding’s version. Nor is love equated to immortality, in ZAYN and Taylor’s version. As Michaels herself sings in the second verse, “There’s no regrets. I just thought it was fun.” “Heaven” renders love, or at least the “Fifty Shades” version of it, in simple terms. The boy is bad for her, and yet, so good.
“Is it us? Or is it just supernatural?” BØRNS croons in “Supernatural.” Neon pink lights illuminate a leafy green backdrop behind him. White strobe flickers in the back. The song is about a relationship, rather than a person, but one can’t help wonder whether the singer himself exudes a certain supernatural, alien energy.